My reviews of Chess, The Queen of Versailles, and The Seat of Our Pants will be published in the coming days, and my reviews of The Baker’s Wife, Slam Frank, and The 25th Annual Putnam County Spelling Bee will follow. But a second word must first be said for Soon, which closed a two-week engagement at New York’s East Village Basement last Sunday. I was lucky enough to be in attendance.

This revivifying new musical, by Nick Blaemire, centers around a young woman, Charlie, who refuses to leave her apartment due to the imminent end of the world. It has a cast of four, a 90-minute run-time, and an eleventh-hour revelation that alters the circumstances of the story – which has little to do with apocalyptic climate change. In my initial review of the piece, I noted that the early scenes, upon reflection, seemed to hold up well under scrutiny, given the subsequent circumstantial revelation, but I was wrong. They thrive.

Blaemire is a great writer, with a real gift for character and relationships, and his material for Soon, already rich upon a first encounter, reveals renewed richness upon a second – especially to be found in certain exchanges between Charlie and her mother, Adrienne, and between Charlie and her roommate, Steven. Indeed, Blaemire has crafted the entire piece with relish and skill and delicious strains of fragility and discontent that run through and inform the bounteous comedy, rooted at all times in story and character.

Soon bristles with humanity, and it bubbles with theatricality, and if the juicy, playful dialogue tends to outdistance the score, the score nonetheless contains a handful of incredibly fine numbers resolutely fashioned for the stage and endowed with great stylistic specificity – like “How Are You?,” an ironically titled jazz waltz for Adrienne that anchors one of the show’s several electric scenes.

But Soon is imperfect, and it would benefit from several small refinements. The recorded news footage, for instance, has not been completely woven into the proceedings. Charlie has not been given a reason to join in the chorus of either “Avoid the Apocalypse” or “Bohemia Paradiso,” and both would almost certainly be more effective if she did not. And the songs populating the back half of the routine have essentially the same non-ending – which is causing a minor loss of crispness in the composition and a minor loss of impact, freshness, and propulsion in the narrative.

Blaemire would be well advised to give definitive, buttoned-up endings to three back-half songs: “Bohemia Paradiso,” a fabulously seductive number in which Adrienne recalls her youth; “Waiting,” a pulsating solo, drenched in guitar, for Charlie’s new boyfriend; and “Hasn’t Happened,” an eleven o’clock reckoning of sorts for the leading lady. (The placement of “Waiting” immediately after “Bohemia Paradiso” is exceedingly smart, for it results in an exhilarating juxtaposition of temperature and musicality that actively serves the storytelling, and it holds tremendous interest and structural vitality as the only instance of back-to-back song.) Even if the show’s two or three larger material flaws, like the academic nature of “Peanut Butter” and the extraneousness of “Bar Mitzvah for the First Jewish Fish,” go unaddressed, small refinements concerning composition and mechanics would invariably enhance the power and punch of the musical.

And Soon has power and punch, which could be felt even in the unsatisfactory East Village Basement production, blessed with a couple of fine performances, and the musical demands a wider life, on a proper theatrical stage, with a proper theatrical staging.